Le rapport révolutionnaire établi entre bâtiment et paysage, conçus ensemble selon des idéaux américains particuliers est au centre de Frank Lloyd Wright : Inventer un paysage américain, 1922-1932. Avec cette exposition, le CCA reconstitue cinq projets visionnaires qui ne devaient représenter rien de moins qu’un nouveau paysage, intégrant sur une vaste échelle terrain,(...)
Salles principales
18 juin 1996 au 29 septembre 1996
Frank Lloyd Wright : inventer un paysage américain, 1922-1932
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Le rapport révolutionnaire établi entre bâtiment et paysage, conçus ensemble selon des idéaux américains particuliers est au centre de Frank Lloyd Wright : Inventer un paysage américain, 1922-1932. Avec cette exposition, le CCA reconstitue cinq projets visionnaires qui ne devaient représenter rien de moins qu’un nouveau paysage, intégrant sur une vaste échelle terrain,(...)
Salles principales
Mies en Amérique
Grand penseur et artiste minutieux, et l’un des plus illustres architectes de l’histoire, Ludwig Mies van der Rohe est déjà une figure dominante de sa profession en Allemagne, lorsque, en 1938, dans la cinquantaine, il émigre aux États-Unis. Transplanté de l’école du Bauhaus (dont il a été le dernier directeur) à un institut technique de Chicago, délaissant le milieu de(...)
Salles principales
17 octobre 2001 au 20 janvier 2002
Mies en Amérique
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Grand penseur et artiste minutieux, et l’un des plus illustres architectes de l’histoire, Ludwig Mies van der Rohe est déjà une figure dominante de sa profession en Allemagne, lorsque, en 1938, dans la cinquantaine, il émigre aux États-Unis. Transplanté de l’école du Bauhaus (dont il a été le dernier directeur) à un institut technique de Chicago, délaissant le milieu de(...)
Salles principales
Andreas Angelidakis définit sa pratique comme un seul et même projet continu qui porte sur l’architecture d’exposition. Dans cette conférence, il décrira son parcours en se basant sur cinq exemples : la troisième Biennale de Thessalonique, The System of Objects à la DESTE Foundation à Athènes, Every End Is a Beginning au musée national d’art contemporain à Athènes, 1:1(...)
15 octobre 2015 , 18h
L'architecture présentée : Andreas Angelidakis
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Description:
Andreas Angelidakis définit sa pratique comme un seul et même projet continu qui porte sur l’architecture d’exposition. Dans cette conférence, il décrira son parcours en se basant sur cinq exemples : la troisième Biennale de Thessalonique, The System of Objects à la DESTE Foundation à Athènes, Every End Is a Beginning au musée national d’art contemporain à Athènes, 1:1(...)
Théâtre Paul-Desmarais
27 septembre 2007
Théâtre Paul-Desmarais
Ce film, conçu par Francesco Garutti et dirigé par Shahab Mihandoust, explore l’histoire de la conception d’un ensemble de ponts autoroutiers, commandés dans les années 1920 et 1930 par Robert Moses. L’histoire suggère que ces ponts autoroutiers aient été délibérément conçus pour empêcher le passage d’autobus de sorte que seules les voitures – et les personnes ayant les(...)
août 2014
Misleading Innocence (tracing what a bridge can do)
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Ce film, conçu par Francesco Garutti et dirigé par Shahab Mihandoust, explore l’histoire de la conception d’un ensemble de ponts autoroutiers, commandés dans les années 1920 et 1930 par Robert Moses. L’histoire suggère que ces ponts autoroutiers aient été délibérément conçus pour empêcher le passage d’autobus de sorte que seules les voitures – et les personnes ayant les(...)
L’enseignement… d’Ordos
Dans le nord de la Chine, la ville d’Ordos, riche en ressources charbonnières et gazières, possède un nouveau quartier central dépourvu de résidants. On a dépensé plus de 161 milliards de dollars pour bâtir entièrement à neuf ce nouveau centre-ville sur l’aride steppe mongolienne, et on espère y accueillir plus d’un million d’habitants. Le gouvernement a déclaré qu’à(...)
Théâtre Paul-Desmarais
8 novembre 2012 , 19h
L’enseignement… d’Ordos
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Dans le nord de la Chine, la ville d’Ordos, riche en ressources charbonnières et gazières, possède un nouveau quartier central dépourvu de résidants. On a dépensé plus de 161 milliards de dollars pour bâtir entièrement à neuf ce nouveau centre-ville sur l’aride steppe mongolienne, et on espère y accueillir plus d’un million d’habitants. Le gouvernement a déclaré qu’à(...)
Théâtre Paul-Desmarais
Sous-série
Domestic Commissions
CI001.S2.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. Charles' Hôtel Soltykoff (1854)(DR1974:0002:003:001-105) is exemplary of the Second Empire not only in its architectural language, programme and interior decoration, but also its use of mixed stone and iron construction. The album for Hôtel Soltykoff is one of the most comprehensive in the CCA collection. The drawings incorporate several phases of the design process from conceptual ideas to post-construction revisions. Numerous drawings for the structure and exterior ornamentation are included as well as drawings for the embellishment of the interior spaces. The interior drawings are especially interesting for evidence they provide of the palette of colours and ornamental motifs utilized in the Second Empire. Several prints (plates XIX - XXIII) in 'Oeuvre de C. Rohault de Fleury, architecte', which include general plans and elevations (few of which are included in the Hôtel Solytkoff album), are a useful complement to more specific drawings in the album. The Hôtel Sauvage (ca. 1862) album (DR1974:0002:006:001-024) - a set of 24 contract drawings- consists exclusively general plans, sections and elevations. This group of drawings give a good overall sense of both the interior and exterior. Hôtel Sauvage, like Hôtel Soltykoff is also typical of the Second Empire in style and programme. Château de Marcoussis (ca. 1861), for which a group of drawings were acquired in 1986, diverges somewhat in character from the other examples of Charles' domestic works represented in the CCA collection (DR1986:0379 - DR1986:0413). While most of the other houses are strictly classical in planning and design, for Château de Marcoussis, Charles adopted a more romantic asymmetrical château style design. The domestic commissions (1838-1856) in album, DR1974:0002:002:001-094, roughly fall into two categories. The first category consists of single residences - both town and country. The regimentation of plans and façades in the hôtel particular and country houses manifests the continued influence of Durand, yet Charles was also clearly affected by the Second Empire propensity for elaborate façade treatments with decoratively-shaped windows, complex mouldings and extensive rustication. The second category consists of urban apartment building with stores or occasionally offices on the ground floor, apartments, generally two per floor, above and often servants' rooms in the attic. These buildings are articulated in a restrained manner with mouldings, decorative ironwork and some stone ornament.
[between 1838 and 1861]
Domestic Commissions
CI001.S2.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. Charles' Hôtel Soltykoff (1854)(DR1974:0002:003:001-105) is exemplary of the Second Empire not only in its architectural language, programme and interior decoration, but also its use of mixed stone and iron construction. The album for Hôtel Soltykoff is one of the most comprehensive in the CCA collection. The drawings incorporate several phases of the design process from conceptual ideas to post-construction revisions. Numerous drawings for the structure and exterior ornamentation are included as well as drawings for the embellishment of the interior spaces. The interior drawings are especially interesting for evidence they provide of the palette of colours and ornamental motifs utilized in the Second Empire. Several prints (plates XIX - XXIII) in 'Oeuvre de C. Rohault de Fleury, architecte', which include general plans and elevations (few of which are included in the Hôtel Solytkoff album), are a useful complement to more specific drawings in the album. The Hôtel Sauvage (ca. 1862) album (DR1974:0002:006:001-024) - a set of 24 contract drawings- consists exclusively general plans, sections and elevations. This group of drawings give a good overall sense of both the interior and exterior. Hôtel Sauvage, like Hôtel Soltykoff is also typical of the Second Empire in style and programme. Château de Marcoussis (ca. 1861), for which a group of drawings were acquired in 1986, diverges somewhat in character from the other examples of Charles' domestic works represented in the CCA collection (DR1986:0379 - DR1986:0413). While most of the other houses are strictly classical in planning and design, for Château de Marcoussis, Charles adopted a more romantic asymmetrical château style design. The domestic commissions (1838-1856) in album, DR1974:0002:002:001-094, roughly fall into two categories. The first category consists of single residences - both town and country. The regimentation of plans and façades in the hôtel particular and country houses manifests the continued influence of Durand, yet Charles was also clearly affected by the Second Empire propensity for elaborate façade treatments with decoratively-shaped windows, complex mouldings and extensive rustication. The second category consists of urban apartment building with stores or occasionally offices on the ground floor, apartments, generally two per floor, above and often servants' rooms in the attic. These buildings are articulated in a restrained manner with mouldings, decorative ironwork and some stone ornament.
File 2
[between 1838 and 1861]
Sous-série
Domestic Commissions
CI001.S1.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. The austere classicism of Hubert's domestic work reflects the prevailing taste of the day and reveals the strong influence of his teacher, Jean Nicholas Louis Durand. The compostional effect of the houses' façades relies on the shape and rhythm of the fenestration and the geometric division by string courses and occasionally, pilasters. Columns are used infrequently as is decorative stonework. The plans are symmetrical and modular. This approach to design is especially evident in the series of proposals for a country house for comte Treilhard (DR1974:0002:034:001-082) and in a group of unidentified designs for houses (DR1974:0002:035:001-034), all of which illustrate an emphasis on plan in the design process and a distinct approach to the composition of the elevations, both derived from Durand. Hubert's domestic work was also influenced by Palladio (see especially DR1974:0002:038:001-029). The interiors and furniture designed by Hubert are typical of the Empire style (1). The drawings in the CCA collection illustrate the materials, palette and ornamental motifs of the period. The garden structures in Hubert's albums are more fanciful than his houses and are either Rustic, Chinoiserie or classical in style (2). His garden designs follow the contemporary French trend for "jardins anglais" with winding paths and naturalistic placement of the vegetation, sometimes in combination with more formal French gardens (3). One of the most comprehensively documented domestic project by Hubert is the Rohault de Fleury House (12-14 rue d'Aguesseau; 1824). The CCA collection contains an interesting series of preliminary drawings for alternate proposals for this house, a number of highly finished wash drawings (including the interior decorative scheme) for the final scheme (DR1974:0002:011:001-08) and several earlier (ca. 1806) proposals (DR1974:0002:035:001-034). The Domaine de la Vallée album (DR1974:0002:025:001-059) is notable for the range of subject matter included as well as for the insights into the character of a working country estate in the nineteenth century. The proposed modifications encompassed both functional (a bridge, a levee, granaries and stables) and aesthetic improvements, such as ornamental garden temples. The renovation of the house also exhibits both functional and aesthetic improvements. (1) Examples of Hubert's interiors and furniture can be found in albums, DR1974:0002:007:001-068, DR1974:0002:011:001-089, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (2) The best examples of his pavilions are found in album, DR1974:0002:038:001-029 with other examples in albums, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (3) Examples are found in albums, DR1974:0002:035:001-034 and DR1974:0002 :025:001-059. Also of note are drawings, DR1974:0002:007:007 and DR1974:0002:007:068.
1802-[1840]
Domestic Commissions
CI001.S1.D2
Description:
Hubert and Charles Rohault de Fleury received domestic commissions for both urban housing -hôtel particuliers and apartment houses- and rural dwellings -châteaux, country houses and estates. Hubert also executed designs for furniture and garden pavilions. Hubert' work is characterized by restrained classical exteriors and luxurious Empire style interiors; both Charles' exteriors and interiors, especially those for Hôtels Sauvage and Soltykoff, reflect the exuberance of the Second Empire. The CCA albums include drawings from all stages of the design process but with an emphasis on design development drawings. Hubert's albums contain cost calculations and estimates, notes and letters. In general, the drawings by Charles are from a more developed phase of design than Hubert's; Hubert's commissions are more varied than Charles'. The austere classicism of Hubert's domestic work reflects the prevailing taste of the day and reveals the strong influence of his teacher, Jean Nicholas Louis Durand. The compostional effect of the houses' façades relies on the shape and rhythm of the fenestration and the geometric division by string courses and occasionally, pilasters. Columns are used infrequently as is decorative stonework. The plans are symmetrical and modular. This approach to design is especially evident in the series of proposals for a country house for comte Treilhard (DR1974:0002:034:001-082) and in a group of unidentified designs for houses (DR1974:0002:035:001-034), all of which illustrate an emphasis on plan in the design process and a distinct approach to the composition of the elevations, both derived from Durand. Hubert's domestic work was also influenced by Palladio (see especially DR1974:0002:038:001-029). The interiors and furniture designed by Hubert are typical of the Empire style (1). The drawings in the CCA collection illustrate the materials, palette and ornamental motifs of the period. The garden structures in Hubert's albums are more fanciful than his houses and are either Rustic, Chinoiserie or classical in style (2). His garden designs follow the contemporary French trend for "jardins anglais" with winding paths and naturalistic placement of the vegetation, sometimes in combination with more formal French gardens (3). One of the most comprehensively documented domestic project by Hubert is the Rohault de Fleury House (12-14 rue d'Aguesseau; 1824). The CCA collection contains an interesting series of preliminary drawings for alternate proposals for this house, a number of highly finished wash drawings (including the interior decorative scheme) for the final scheme (DR1974:0002:011:001-08) and several earlier (ca. 1806) proposals (DR1974:0002:035:001-034). The Domaine de la Vallée album (DR1974:0002:025:001-059) is notable for the range of subject matter included as well as for the insights into the character of a working country estate in the nineteenth century. The proposed modifications encompassed both functional (a bridge, a levee, granaries and stables) and aesthetic improvements, such as ornamental garden temples. The renovation of the house also exhibits both functional and aesthetic improvements. (1) Examples of Hubert's interiors and furniture can be found in albums, DR1974:0002:007:001-068, DR1974:0002:011:001-089, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (2) The best examples of his pavilions are found in album, DR1974:0002:038:001-029 with other examples in albums, DR1974:0002:025:001-059, DR1974:0002:030:001-065 and DR1974:0002:035:001-034. (3) Examples are found in albums, DR1974:0002:035:001-034 and DR1974:0002 :025:001-059. Also of note are drawings, DR1974:0002:007:007 and DR1974:0002:007:068.
File 2
1802-[1840]
DR1982:0021:001-105
1812-1816
1812-1816
archives
Niveau de description archivistique:
Fonds
AP084
Résumé:
The Gardiner & Thornton architects fonds, 1924-1987, documents the built projects of Vancouver-based firm, Gardiner & Thornton, architects, and its successive firms. Over 300 architectural projects are represented in this fonds. Materials in this fonds include approximately 3925 drawings (including reprographic copies), 908 photographic materials and 3.06 l.m. of textual records.
1924-1987
Fonds Gardiner & Thornton architects
Actions:
AP084
Résumé:
The Gardiner & Thornton architects fonds, 1924-1987, documents the built projects of Vancouver-based firm, Gardiner & Thornton, architects, and its successive firms. Over 300 architectural projects are represented in this fonds. Materials in this fonds include approximately 3925 drawings (including reprographic copies), 908 photographic materials and 3.06 l.m. of textual records.
archives
Niveau de description archivistique:
Fonds
1924-1987